Repressed. "Kickboard Girl" features tinkling beats with an almost anthem-like approach. It beats like the movement of arms and legs in water, and then the synthesizer whispers. "Kickboard Girl (Take Care At The Corner)" covers the peaceful silence with tiny buds of sound before "May In Fall" triggers the euphoric pulse of an old, long-forgotten breakbeat extravaganza you thought you'd never feel again. The rest of the tracks are new melodies that will take your soul prisoner.

2002 release. LP version. You know what it's like. You wander aimlessly through the streets, maybe trying to forget something, when all of a sudden the sun breaks through the clouds and turns everything into gold. In an instant, your mind will be completely absorbed by this light and you will have forgotten everything you wanted to forget. Our Noise has exactly this same effect. There are crucial points in these ten tracks where luminescent melodies appear from out of nowhere, pushing everything else aside. Subtle bass lines and beat structures perpetually move into rhythmic chaos, not bothering to conceal the fact that this is nothing less than glorious pop. Around this momentum swirls a dizzying complex of beats that range from calm to pulsating and September-warm. Right in the middle of this ever-flowing whole, you'll find a shining cover version of Slapp Happy's "Blue Flower," previously saved from obscurity by the likes of Mazzy Star and Pale Saints. On a blissfully piercing bed made out of thousands of guitars, sits the majestic and modest voice of singer Ariane Hensel. Thaddeus Herrmann and Christian Kleine prove that a sum consists of more than just the contents of its parts. This music comes from directions as diverse as hip-hop, '80s synth-pop and classic indie-rock. But it's not about an easy formula -- this is more like an interstation on a long personal path.